Recording projects that seek to contextualise the organ music
of J.S. Bach have a tendency to backfire. Interspersing his
works with those of his teachers, contemporaries or pupils rarely
does those other composers any favours. Often it merely reinforces
the assumption that Bach’s music was the result of unique
and unqualified genius. The careful programming on this disc
has obviously been prepared with a mind to these dangers. Johann
Sebastian only makes a single appearance, his Toccata in E BWV
566 the spectacular conclusion of the disc. Works by other composers
have been chosen to highlight their stylistic diversity and
individual merits.

The rationale for the programme comes from Peter Williams’
recent J.S.Bach: A Life in Music, a biography that sticks
closer than most to the verifiable facts. Its basic source material
is the obituary of Bach written by Carl Phillip Emanuel and
Johann Agricola - son and pupil of Bach respectively - which
was published in 1754. All of the composers featured on this
recording are named in that document with reference to Johann
Sebastian’s formative musical experiences. Froberger,
Kerll and Pachelbel, for example, are all mentioned with reference
to the so-called moonlight episode - when Bach copied out their
works by night because he did not have his brother’s permission
to borrow the volume. Böhm, Riencken and Buxtehude were
all personal acquaintances to a greater or lesser extent.

There are no real surprises from the two best-known composers
in the selection, Pachelbel and Buxtehude. The former is represented
by a substantial set of variations (the Partita) and a short
Toccata, neither of which challenge his reputation for worthy
but pedestrian counterpoint. The two Chorale Preludes and Ciacona
by Buxtehude are stylistically and technically the closest any
of these predecessors come to the music of Bach himself. Programmed
as they are immediately before the Bach finale emphasises the
artistic affinity.

The lesser-known composers all punch above their weight. No
concession need be made to Bruhns, Kerll or Froberger for the
17th century provenance of their work in terms of
sophistication. But for me the highlight of the disc is the
Fugue in G minor by Reincken. At only five minutes and having
no pedal part it is a slight work by the standards of this programme.
That said, its sprightly fugal subject, occasionally resting
on repeated semiquavers before springing off again, and the
lightness of its elaboration give the music a vitality worthy
of Bach at his greatest.

Some eyebrows might be raised at the prospect of organ music
of the German Baroque being recorded in Paris. However, the
credentials of the organ of St Louis-en-L’Île for
this repertoire are impeccable. The instrument is by Bernard
Aubertin and was completed in 2005. The commission specified
an instrument suitable for the music of Bach. Aubertin based
the instrument on designs by Zacharias Hildebrandt (1688-1757),
a maker whose work Bach himself apparently endorsed. Its sound
on this recording is clean, focused and balanced, and without
a peep from the mechanical tracker action.

Margaret Phillips performs with precision and flair, and is
sensitive to the details of stylistic variety in the programme.
There is apparently a pedagogical aspect to this recording;
it is produced in association with the English Organ School,
an organisation that Phillips runs with her husband David Hunt.
The booklet includes the full specification of the instrument,
but also lists the registrations used throughout. This is a
nice touch, and perhaps aimed at aspiring organists who wish
to use the recording as a model for their own performances.
They would be well advised to do so.

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